INDEX
Aaker, David, 80, 81 process for generating, 97 American Heart Association, 69 AARP, 11 tools for developing, 93–96 American Lung Association, 103 ABC, 5 and typeface selection, 54 American Red Cross, 134 Accuracy (term), 67 visual communication of, 20 American Skandia, 66 Adams, Chris, 184 Advertising message, 18 Americans with Disabilities Act (ADA), 197 adams&partners, 184–185 Advertising Week, 11, 136 American Urological Association, 133 The Ad Council, 3, 11, 12, 58, 81, 91, 98, 132, Adweek, 143 AMV BBDO, 218–219 134, 142 Aerial perspective, 37 Analogy, visual, 99 ADDigital Productions, 91 Aesop agency, 111 Anderson, Kilpatrick, 140 Adidas Originals case study, 120, 122–123 Aesthetic value (typefaces), 54–55 Andersson, Nils, 26, 56 Adkins, Doug, 66, 154 Afferent forces, 24 Andrews, Chris, 196 Adoption, of other visual arts forms, 140 Affleck, Ben, 213 Angeli, 25 Adventure, signifying, 84 Affordances, 201 Angelo, David, 176 Advertisements, 3 A42, 84 Anheuser-Busch, 143 deconstructing and categorizing, see Agassi, Andre, 94 Animation (animated cartoons), 64, 138, Deconstructing model formats Aimette, Michael, 59 172–174. See also Motion parts of, 18–20 Airbnb, 136 Anolik, Richy, 104 Advertising, 2–17 AKQA, 116, 117, 144, 180 Anomaly, 10 ad agencies, 10–11 Alach, Joanne, 96 Anonymous Content, 84 categories of, 3–4 Alejo, Laura, 131 Antfood, 131 creative brief sample, 13–14 Alexander, Shannon, 176 Anti-Defamation League, 11 “Creative Revolution” in, 6 Alice and Olivia, 142 APM Music, 176 creators of, 6, 9–10 Alignment, 34–36 Apps, 194 in digital age, 2 Alinsangan, Susan, 184 Apple, 133, 219 expected career competencies for, 12 Allem, Simone, 9 Applefield, Brandon, 192 forms of, 4–5 Allen, Craig, 203 “Apple” print, 37 media channels, 6–8 “All Six of Them” print, 58 Appropriation, 69 phases of projects, 12–13 Allstate, 11 Approximate symmetry, 25 purpose of, 2–3 AlmapBBDO, 25 Arby’s, 136 push and pull, 6 Alpargatas, 25 Arcade, 184 and social responsibility, 11–12 ALS Association, 12, 206 Archetypes, 119, 128 Advertising Age, 33 COPYRIGHTEDAltering images, 64–65 MATERIALAriely, Dan, 82 Advertising agencies, 1, 3, 6, 10–11 Alternate uses/audiences, 95 Arlow, Arnie, 84 Advertising campaigns, 3, 38–42. See also Alvarez, Marcelino J., 103 “Arming Women For the Battle Against Heart individual campaigns Alvio by Qol Devices, 117 Disease,” 69 Advertising idea/concept, 18, 90–107 Always, 181, 183, 206 Armstrong, Athila, 204 for animation or motion, 174 Amazon.com, 134 Arnold, Rosie, 32, 64, 168–171 as driver of all decisions, 172 American-Arab Anti-Discrimination Com- Arrangement, 33, 38 essential questions in ideation, 90–91 mittee, 11 “Arrogant” print, 31, 32 finding insights for, 91–93 American Association of People with Art, see Images kick-starters for, 98–103 Disabilities, 11 Art direction and copy phase, 13 Madden GIFERATOR case study, 106–107 American Civil Liberties Union (ACLU), 70, Art directors (ADs), 6, 9, 10, 12 Oscar Mayer “Wake Up and Smell the 101 Arte Mexicano, 139 Bacon” case study, 104–105 American Express, 152 The Art of Shaving campaign, 156–157, 167
232
Landa Endmatter v3.2 232 October 6, 2016 3:45 PM The Art of Thoughtt (Graham Wallas), 97 Bartle Bogle Hegarty (BBH) / London, 14, 32, “Big Truck” print, 100 As-if frame, 159–160 169–171 Bird by Birdd (Anne Lamott), 119 Asmar, Mariam, 198 Bartle Bogle Hegarty (BBH) / NY, 28 Blacc, Aloe, 140 Aspirations, 93 #Batkid Miles, 210–213 The Black Keys, 5 Assemblage, 64 Battersby, Will, 116 Blackletter typefaces, 54 Assessment and stewardship phase, 13 Bauhaus, 42 Bläck Studios, 180 As the World Turns, 4 Baxter, Jeff, 203 The Blair Witch Projectt (mockumentary), 142 Asymmetry, 25 Bayly, Rebecca, 196 Blakely, Brian, 130 Atmospheric perspective, 37 Bayne, Nick, 206 Blank, Zach, 203 AT&T, 120 Baysinger, Tim, 11 Blast Off Productions, 116 Attitude, 84 BBDO New York, 59, 132, 133, 149, 156, 167, Bleed, 66 Attribute listing, 162 208 Blom, Lizali, 40 Audience(s): BBH, see Bartle Bogle Hegarty Blommers, Anushka, 85 alternate, 95 “Be all that you can be” campaign, 101 Blomqvist, Ulf, 180 emotional connection with, 111 Beard, Sophie, 141 Blondes, Brad, 80 evaluating, 150–151 “Bear in Music Store” print, 150 BMP DDB/London, 23, 100 online, 110 Beauregard, Xavier, 118 BMW, 78, 119, 182, 183 point of view of, 92 The Beauty Inside (film), 94, 110 Bobbitt, Ashley, 104 and typeface selection, 54 “Beauty” print, 60 Boches, Edward, 39, 40, 135 understanding, 13 “Beauty Sketches” campaign, 114, 115 Bodérus, Adam, 180 Australian Football League (AFL), 96 Becker, Adine, 181 Body copy, 152 Australia Post, 141 Beckham, David, 134 Boeri Helmets, 135 Authenticity, 84 Beek, Quinten, 198, 202 Bogusky, Alex, 60 Automatic mapping, 160 Behavior patterns, 195 Boisvert, Emily, 192 Avnet, Mark, 104 Bell Media/TSN, 68 Boitte, Elisabeth, 118 Avum Inc., 48 Bendet, Stacey, 142 Bokor, Greg, 39 Awdry, Will, 169 #BendTheRules campaign, 209 Boldness (term), 67 Ayala, Robby, 209 Benefits, moving to insights from, 94 Bongiovanni, Katie, 192 Bennett, Chuck, 142 Booker, Christopher, 119 Baas, Willem, 202 Bennett, Matt, 116 “Boot” print, 81 BabyCenter.com, 6, 114 Beno & Wolf, 68 Borchers, Graeme, 9 “Baby & Me” video campaign, 132 Benson, Tyler, 203 Borders, for images, 66 Background, 36, 37 Bentham, Jeremy, 159 Bossa NUC, 79 Baclesse, Jessica, 84 Bentz, Geoff, 133 “Boss” Cotton Press, 134 Bagley, Jason, 203 Berger, John, 129 Boucher, Ron, 58 Baker, Jared, 104 Bernbach, Bill, 6, 33, 99, 100, 149 Boudreau, Michel, 196 Balance, 25–26, 44 Bernstein, Jeremy, 7 Boulton, Mark, 197 Baldwin, Eric, 203 Bessudo, Matthieu “Mcbess,” 180 Bourbigot, Chantal, 118 Bale, Christian, 213 “Beta-7” campaign, 140 A Boy and His Atom (animation), 86–87 Balsamello, Dave, 80 BETC Paris, 132 Boyle, Susan, 208 Baltus, Greg, 103 Betty Crocker, 133 Bozell Worldwide, 148 Balut, Cécile, 118 Beutelstetter, Coban, 118 Brady, Sheena, 141 Bamber, Lisa, 181 Beyoncé, 134 The Brady Center to Prevent Gun Violence, BAM! Body and Mind, 91 Bias, 11 198 BankCab program case study, 88–89 BIC, 203 Brain, Marissa, 196 Bao, Andrew, 116 BIC Deutschland GmbH & Co. OHG, 202 Brainstorming, 158–159, 162–163 Barber Spa case study, 167 Bick, Tom, 104 Brancheau, Jon, 114 Bareselfies, 208 Big Foote, 91 Brands: Barlow, Jamie, 131 Bignell, Edd, 180 branded entertainment sponsored by, 4 Barnum, P. O., 129 Big Sky Edit, 80 branded utilities, 4, 6 Barratt, Thomas, 140 Big Sky Effects, 80 cause advertising by, 3 Bartle Bogle Hegarty (BBH), 168 Big Spaceship, 214–215 commercial advertising by, 4
INDEX 233
Landa Endmatter v3.2 233 October 6, 2016 3:45 PM Brands (cont.) Brown, Danielle, 206 Cartoons, 136, 138 consumer/user-generated content, 4 Brown, Laurie, 203 “Cartoonists” campaign, 25 messages about, 10 Brown, Wilson, 131 Casas, Sam, 176 parity of, 3 Bruene, Jake, 181 The Casbah, 31, 32 product placement, 4 Brunier, Jean-Paul, 118 Catchphrases, 148. See also Taglines social media use for, 219 Bruns, Sönke, 202 Cause advertising, 3 unique selling proposition of, 44 Brush, Jason, 46 Cawley, Tim, 39 Brand attitude, 80 Bryan, Sean, 80, 91, 133, 198 Celebrity endorsements, 134 BrandBuzz (Young & Rubicam), 74 Bryant, Kobe, 116, 117 Cemo, Sevda, 96 Brandchannel.com, 80 Bubbles (painting), 140 Centered alignment, 35 Branded entertainment, 4, 8, 143 Buchan, Hazel, 9 Centers for Disease Control and Prevention, Branded environments, 6 Buck, 136 91 Branded utilities, 4, 6 Budhiraja, Nitin, 65 Centrepoint, 134 Branded vertical site, 191 Bueltmann, 202 Cesar, Jonathan, 101 Brandeis, Louis, 155 Bullock, Sandra, 134 Chakarian, Erevan, 67 Brand essence, 80, 111 “Bunnies” print, 135 Chalkbot (Nike), 102–103 Brand icons, 133–134 Burchiel, Kim, 68 “CHALKBOT” project and films, 103 Branding, 79, 191, 194 Burger King, 140 Charlex, 91 Brandlive, Inc., 191 Burley, Alia, 180 Charmin, 6 Brand messaging steps, 2 Burrill, Anthony, 85 Charmin Restrooms, 82 Brand narrative, 78–89. See also Stories Burris, Susan, 206 Chart, 64 and brand storytelling, 86–87 Business model, disrupting, 94–95 Chayefsky, Paddy, 135 core, 111–114 Business to business (B2B) advertising, 4 “Check In. Check Out” print, 85 Renegade HSBC BankCab program case Butler, Jeremy G., 138 Chelsea Pictures, 181 study, 88–89 Butler, John, 11 Chelvanathan, Anthony, 68 in storybuilding, 111–114 Butler, Shine, Stern & Partners, 11, 20, 30, 35, Cheng, Leslie, 116 strategic approaches to, 82–85 81, 164–166 Chen Lei, 26, 56 strategic markers in, 81–82 Byfield, Tahirah, 180 Chen Mo, 26 strategic thinking underpinning, 78–81 Bygraves, Nick, 181 Chesterfield cigarettes, 134 Brand philosophy, 86 Chiat/Day, 133 Brand position, 79 Cadbury, 143 Chiellini, Giorgio, 206 Brand promise, 79, 80, 114 Cai, Joe, 116 Childhood Asthma, 98 Brand proposition, 190 Calamia, Marc, 104, 130 Ching, Wayne, 96 Brand storytelling, 79, 86–87 Calcao, Tony, 60 Cho, Yunsung, 91 Brand strategy, 78–81 California Lottery, 175–177 Chontos, David, 176 and approaches to brand narrative, 82–85 California Milk Processor Board, 148, 152 Christensen, Greg, 103 and strategic markers in brand narrative, Call to action, 3, 90, 173, 195 Christmas Price Index (CPI), 6, 7 81–82 Camera height, 176 Chronology, 172 Brand URL website, 190–191 Campaign-based microsite, 191 Chua, Josh, 104 Brand values, 111 Campbell, Joseph, 119 Chunking, 195 Branton, Joe, 106 Campbell, Matt, 106 Ciconte, Sandra, 206 Braque, Georges, 37 Campora, Stefano, 37 Cignini, Marco, 98 “Breasts “ print, 101 Canadian Cancer Society, 101 Cisco, 15–17, 42 Brebner, Patty, 84, 103 Cannes Lions, 46–47, 194 Civil Liberties Union, 102 Brechbill, Aaron, 103 “Can you hear me now?” campaign, 148 The Civil Wars, 5 B Reel, 146 Capobianco, Angel, 181 Clack, Matt, 106 Brennan, Michel, 104 Carcassola, Matteo, 181 Claim, 152 Bret, Elise Ziri, 118 Cardone, Jack, 98 Clarity of type, 52–53 Brewster Parsons, 11 Career competencies, 12 Clark, Wendy, 11, 114 Brink, Matthew, 9 Carlton, Scott, 27 Clarke, John Wyatt, 23, 100 Brock, Timothy, 112 Carmichael, 39 Clemenger BBDO Melbourne, 96, 137, 141 Brophy, Chad, 48 Carruthers, Roy, 19 Clements, Stephen, 144
234 INDEX
Landa Endmatter v3.2 234 October 6, 2016 3:45 PM Clemont, Laurent, 180 parts of an ad, 18–20 “Corporate Radio” print, 31, 32 Clever Girls Collective case study, 210–213 point of view, 36 Corporate social responsibility, 84 Cliff Freeman & Partners, 140 Concepts, see Advertising idea/concept Correspondence, 27, 30 “Clock” print, 23 Concept Farm, 152 Coscia, Anna, 181 Close-up (CU), 176 Conceptual consumption, 82 Costello, Greg, 75 Closure, 27 “Condiment / Spaghetti Sauce” print, 33 “Couch” print, 35 “Cloud” print, 48, 49 Conflict, types of, 120 Cousins structure, 38, 40 Clunie, James, 39 Congruency, 32 Couzens, Ben, 141 CMT, 5 Conklin, 59 Craft, 91, 198 Coats, Emma, 117, 173 “Connecting the Body with the Mind” “Crash the Super Bowl” campaign, 113 Coca-Cola (product), 79, 113, 140 campaign, 20, 21 Crawford, Sam, 48 The Coca-Cola Company, 3, 11, 79, 114, 115, Connection, 98, 158, 208 Creative brief, 13–14, 174 141, 143 Connerton, Dylan, 204 Creative director (CD), 10 Colbert, Stephen, 130 Connors, Jamie, 133 “Creative Revolution” (1950s,1960s), 6 Coleman, Ashley, 167 Consumer advertising, 4, 11 Creative teams, 6, 10 The Colgate Comedy Hour, 4 Consumer endorsements, 134 Creative thinking, 158–167 Collage, 37, 63, 96 Consumer-generated content, 4, 113 The Art of Shaving Barber Spa case study, “College Scholarships” poster, 39 Consumer insight, 91 167 Color palette, 178 Content creation, 4, 219. See also Mini Covert case study, 164–166 ColorSnap, 4 Storybuilding through making, 162–163 Columbia, 81 Context, 24, 55, 62 tools to stimulate, 158–162 Comic-Con, 48, 49 Continuing line, 27 Creators of advertising, 6, 9–10 Comic Strips and Consumer Culture, 1890–1945 Continuity, 26, 27 Crichlow, Gerard, 218–219 (Ian Gordon), 138 Continuum scales, 162 “Crime Reports” poster, 39 Commercials, 175–185 Contrast, 30, 31, 59, 60, 178 Crisman, Jordan, 106 design essentials for, 175–178 Conventional media, 8 Crispin Porter + Bogusky, 60, 98, 140, 209 online, 178–183 Conversations, 102–103, 206 Crockett, Sarah, 192 strategy for, 179, 183 Conveying the advertising message, 129–131 Cropping images, 66 television, 2, 178–183 Cook, Dave, 143 “Crossing Streets” poster, 39 thinkThin integrated campaign case study, Cook, Thelonius, 106 Crossroads Community Services, 27 184–185 Cooley, Sean, 104 Crowdsourcing platforms, 191 web, 178 Cooney, Brian, 176 Cruz, Stephanie, 156, 167 Commercial advertising, 4 Copeland, Misty, 154 Crystallizing ideas, 97 Common fate, 27 Copping, Richard, 23 Cub Scouts, 39 “Common Threads Partnership,” 4 Copy, 18, 90 Cucurull, Adam, 138 Company URL website, 191 Copy-driven ads, 150 Cui, Hao, 176 Compare/contrast matrix, 161, 162 Copy-driven compositions, 21 Culture Code, 93 Comparison, 133 Copywriters, 6, 10 The Culture Code (Clotaire Rapaille), 93 Competencies, 12 Copywriting, 148–157 Culture-jacking, 136 Composition, 18–51 The Art of Shaving Evolution campaign Curlee, Linda, 48 in campaigns by design, 38–41 case study, 156–157 Curran, Michelle, 141 Cannes Lions Touchwall case study, getting started with, 153 Curry, Steph, 154 46–47 image/copy relationship, 20–23, 149–153 Curtis, Hal, 141 design principles, 24–32 images and, 148 Cut and Paste, 9 directing viewer’s gaze through, 33–35 process of, 155 Cutters, 181 Domtar PAPERbecause case study, 48–51 taglines, 152, 154 Cvetkovsk, Sharon, 40 exercise projects for, 44–45 Cordova, Rolando, 19, 22, 23 Cyberbullying, 135 illusion of movement, 38 Core brand narrative, 111–114 Cycles, 161, 162 illusion of spatial depth, 36–37 Core brand story, 79 image/copy relationship constructions, “Cork” print, 39 D’Adda, Lorenzini, Vigorelli, BBDO / Milan 20–23 Cornell, Nikolai, 131 and Rome, 37 in integrated media campaigns, 42–44 Corner to corner structure, 34 Daffy’s, 70, 85
INDEX 235
Landa Endmatter v3.2 235 October 6, 2016 3:45 PM Dahlqvist, Andreas, 138 scale, 32 “Dog” print, 169 Dale, Lindsay, 19 unity, 26–31 Dominant sweeping movement, 34 DamNation (film), 208 visual hierarchy, 26 Domino’s Pizza, 98, 209 Darville, Rachel, 181 Deutsch, Donny, 194 Domtar, 42, 48–51 Datagrams, 136 Deutsch Advertising, 74, 183 Donato, Laurie, 48 Daubert, Antoine, 118 Deutsch LA, 6, 113 Donaton, Scot t, 111, 115, 117 Davis, Lee, 141 DeVito, Sal, 33, 70, 102 Donohue, Mike, 116 Dawson, Len, 133 DeVito/Verdi, 33, 70, 85, 102 “Don’t leave home without it,” 152 DDB, see Doyle Dane Bernbach (DDB) De Vos, Brett, 9 Doritos, 4, 113 “Dead Tables” campaign, 22 DHL, 95 Dos Equis, 152 De Beers Jewellery, 148 Diagonals, 37 Dougherty, Sean, 144 Deboree, Dexton, 144 Diagram, 64 Dove, 3, 79, 86, 114, 115 Deconstructing model formats, 128–145 Diaz, Douglas, 116 Downing, Michael, 184 appeal of transformation, 128–129 Differentiation: Downtown Denver, 150 basic formats, 131–143 brand story, 81–82 Doyle Dane Bernbach (DDB), 6, 33, 100, 149 conveying the advertising message, typefaces, 60 Doyle Dane Bernbach (DDB) Brazil, 35, 153 129–131 Diffusion (term), 67 Doyle Dane Bernbach (DDB) Melbourne, 196 Jordan Brand “The Last Shot” case study, Digiday, 209 Doyle Dane Bernbach (DDB) New York, 33, 144–145 Digital advertising, 2, 190–217 99, 112 Deep frame, 175 branding, 191, 194 Doyle Dane Bernbach (DDB) Stockholm, 117 DeGeneres, Ellen, 99 Clever Girls Collective case study, 210–213 Doyle Dane Bernbach (DDB) Tribal Düssel- De Harder, Jendrik-Jan, 202 desktop website design, 198–201 dorf, 202 Delalla, Stephen, 176 as experience focused and media agnostic, Dramas, 94, 130, 131, 135 Delaney, Kathy, 27, 69 190–191 DreamTone, 113, 114, 209 Delaney, Tim, 155 mobile, 194–197 “Drink Your Fruit” print, 75 Deletion strategy game, 94 and Rathee on the web, 216–217 “Drive-In Theater” print, 72 Deliberate mapping, 160 social media, 206–209 “Drive Like There Is No tomorrow” campaign, Dell, 46 UrbanDaddy case study, 214–215 30 De Lo Santos, David, 104 website basics, 191–193 Droga5, 154, 218–219 Demonstration, 132–133 website development, 201–205 Drumm, Andy, 71 Dennler, Rob, 180 “Digital Advertising Audiences” (IAB), 190 Duggan, Neil, 204 Dentsu, 10 Digital age, 2, 110 –111 Duke, Dustin, 22 Depth of field, 175. See also Spatial depth Digital agencies, 10–11 Dunkin’ Donuts, 81 Design: Digital platforms, 203 Dunn, Carol, 141 in advertising idea, 90 Digital transparency (term), 67 Dunn, Joslyn, 59 commercials, 175–178 Digman, Cindy, 106 Dunn, Ryan, 91 composition, 44–45 DiLorenzo, Brian, 138 Durant, Kevin, 114 mobile, 194–197 Dimensions of brand, 79 Duration, 176 typographic, 52 Dippin’Sauce, 149 Durbin, Robert, 130 website, 198–201 Direction, in commercials, 175 Dynamics, 30 Design Center, 124 Dirty Robber, 104, 130 Dynamic visual hierarchy, 26 Design for Film, 138 Disney, 80 The Design of Everyday Things (Don Norman), Display type, 52–53 Earned media, 4, 6 201 Display typefaces, 54 Eastwood, Matt, 112 Design principles, 24–32 Distance, in format, 24 eCampus.com, 33 in animation or motion, 174 Distortion (term), 67 Echolab, 144 balance, 25–26 Diveo Wireless Internet, 67 Economy (term), 67 figure/ground shape relationships, 32 Dixon, Eamonn, 144 Edges, 24 format, 24–25 Dixon, Vincent, 118 Edge alignment, 35 harmony, 32 A Dizzying Look at the Awesomeness of Small, Edwards, Clark, 137 proportions, 32 164–166 Efferent forces, 24 rhythm, 31, 32 Documentaries, 4, 5, 142 Egyptian typefaces, 53
236 INDEX
Landa Endmatter v3.2 236 October 6, 2016 3:45 PM Eisner Communications, 71 Executive creative director (ECD), 10 Flow, 31–34 Ekstrand, Jonas, 180 Exhale, 20, 21 FL2, 108 El Al Israel Airlines, 18, 19 Exit Films, 137 Flush left/right alignments, 35 Eleven Sound, 84 Expert endorsements, 134 Focus, 175 ElfYourself, 82, 83 Expert testimonials, 134 Fokau, Andrei, 180 Eliot, George, 135 Extended type families, 54 Folds, Ben, 5 Ellis, Des, 9 Extreme close-up (ECU), 176 Fong, Dickson, 192 Elworthy, Matthew, 202 Extreme long shot (ELS), 176 Foote, Sherman, 91 EMarketer, 143 Eye-level shots, 176 “FootifyFM” campaign, 96 Emblematic copy/image constructions, “Foot” print, 169 21–23 Facchini, Carlo, 37 “The Force” commercial, 183 EMEA, 186 Facebook, 114, 136, 208, 219 Ford, Dan, 68 Emotional benefit, 80 Facilitating conversations, 102–103 Foreground, 36, 37 Emotional connection, 111 Facts: Format(s), 24–25, 131–143 Emphasis, 26 in ideation, 101 adoption of other visual arts forms, 140 Em units, 53 opinions vs., 93–94 branded live events, 143 Encapsulating, in website design, 195 Fallon, Pat, 91 brand icons and fictional spokes-charac- Encyclopedia of Television (Museum of Broad- Fallon London, 143 ters, 133–134 cast Communication), 138 Fallon Worldwide, 182 cartoon, 136, 138 Endangered Wildlife Trust, 40–41 Family, representing, 84 comparison, 133 Endgame (James Frey), 187 The Family Violence Prevention Fund, 58 demonstration, 132–133 End line, 152 Fast Company, 209 documentary, 142 Endorsement, 134 Favad, Laurent, 118 endorsement, 134 “Enjoy” print, 151 Fechtor, Stephen, 139 entertainment, 143 The Enough Project, 148 Fechtor Advertising, 139 influencer content, 142–143 Entertainment, 4, 8, 143 Federal Trade Commission (FTC), 134 interactive experiences, 140–141 Environmental Protection Agency, 98 “Feet” commercial, 140 misdirection, 139, 140 Eos lip balm, 10 Felder, Nick, 140 mockumentary, 142 “Epic Musical” commercial, 138 Felt, Kristin, 84 model, 128. See also Deconstructing model “Epic Split” online commercial, 183 Ferguson, Laura, 184 formats “Epic Split” video, 132 Ferguson, Matt, 48 musical, 138 Epoch Films, 184 Ferone, Michele, 133 problem/solution, 134–135 Epstein, Seth, 144 Ferris-Woods, Leanne, 40 real time, 136 Erdem, Erhan, 33 Fiat 500L, 183 show, don’t tell, 132 Eric Mower and Associates, 48 Fictional spokes-characters, 133–134 slice-of-life drama, 135 ESPN, 136, 142 Fieldgate, Jason, 9 spokesperson, 133 estilo3d, 19, 22 Figure/ground shape relationships, 32 testimonial, 134 Ethics, 11 Filgiano, Laurie, 68 user-generated content, 135–136 E*Trade, 138 Final Fantasy, 84 “Forrest” print, 48 Etzine, Steve, 71 Finamori, Cesar, 149, 156, 167 Forsman & Bodenfors, 132, 146 Evans, David, 103 Findability, 198 For the Love of Music, 4, 5 Evans, Duan, 116 Fink, Stu, 69 Fortini-Campbell, Lisa, 91 Evans, Walker, 152 “Finn and Friends,” 140–141 Fortune55, 176 EVB, 83, 208 Firstborn, 91, 92, 108, 114, 198–199, 209 Found images, 64 Event Production, 138 Fischer, Jeff, 91 “Fountain of Electrolytenment” campaign, “Everyday Care” campaign print, 149 Fitzloff, Mark, 84, 103, 141, 203 136, 138 Evian, 132 “Fix in Six” campaign, 208 Fox, Jono, 141 Evolution Bureau, 42 Flagg, Danielle, 84, 103 Fox, Russel, 96 Evolution campaign case study, 156–157 Flat frame, 175 Fox Sports, 139–140 Exaggeration, 67, 101 Fleming, Sir Alexander, 93 Foxtel, 5 Exaggeration game, 95 Fleming, Shane, 15, 42 Frames, 175 Exclusive club, being a, 84 Florence, Jamie, 130 Frame Analysis (Erving Goffman), 159
INDEX 237
Landa Endmatter v3.2 237 October 6, 2016 3:45 PM FrameStore, 138 Gill, Nick, 171 Greenberg, Lisa, 68 Framing, 159–160 Gillespie, Richard, 48 Greenfield, Lauren, 181 Franco, Ennio, 204 Gillette, 134, 167 Greenspan, Josh, 198 Franklin, Chris, 80 The Girl Who Couldn’t Cryy film, 112 Greyhound, 35 Freberg, Stan, 138 Giro, 60 Grids: Freer, Ben, 84 Glad Products Company, 4 996 Grid, 195 Freshwater, Jon, 144 Gladwell, Malcolm, 95–96 for websites, 100 Freud, Sigmund, 93 Glass and a Half Full Productions, 143 Grieco, Michael, 98 Frew, Nick, 104 Glenn, Joshua, 110 Groenewald, Mike, 9 Frew, Rob, 40 Global Citizen Festival, 134 Gropius, Walter, 42 Frey, James, 187 Global Geometry, 140 Ground plane, 37 “Friends Don’t Let Friends Drive Drunk” Gloo, Adam, 206 Ground shapes, 32 campaign, 12, 81, 152 Godfrey, Arthur, 134 Grouping, 26 Frise, Vicomtesse de, 134 Goffman, Erving, 159 Grover, Kathy, 80 From One Second To the Next (film), 120 “Go Forth America,” 84 GROW, 106 Fukunaga, Cary, 84 Goldberg, Whoopi, 130 Grujard, Antoine, 118 Full bleed, 66 Golden State Warriors, 213 Grylewicz, Ben, 84, 141, 203 Full-service agencies, 10 Goldman, Paul, 170 Guardian, 142 Full shot (FS), 176 Gold standard, being the, 84 Guerrilla marketing, 6 Functional benefit, 80, 133 Goldstein, Eric, 59 Guest, Christopher, 142 Gong, Alex, 116 Guillotte, Lora, 180 Gaiman, Neil, 95 Gonzáles, Fernando, 25 Guilty Content, 141 Galhardo, Caco, 25 Gonzalez, Ignacio, 116 Guinta, Geoffrey, 138 Gallagher, Lara, 203 “Good. Clean. Fun” print, 20 Gunn, Donald, 132 Games, 4 Goodby Silverstein & Partners, 14, 15, 42, 94 Game of Thrones promotional, 6 Goodrich, 156 Hadrian’s Wall, 101, 103 Ganbrys, Allison, 144 Goodrich, Kara, 149, 167 Hahn, Greg, 59, 149, 156, 167 Gannon, Peter, 80 Goodson, Scott, 126–127 Hall, Jennifer Sofio, 84 Gao Han, 56 Google, 106, 194, 195 Hall, Polly, 131 Garaventi, Jim, 39 Google Cardboard, 195 Hall, Stuart, 72 Garcia, Jorge, 202 “Gorilla” commercial, 143 “Hammer-Brush 1,2,3” campaign, 35 Gargano, Carolyn, 27 Gothic typefaces, 54 Hancock, Joseph, 150 Garvey, Emily, 130 “Got Milk?” campaign, 94 Hanes, 4 Garza, Victor, 176 Grace, Topher, 110 Hans Brinker Budget Hotel, 85 Gaubert, Stéphanie, 118 Graham, Elliot, 84 The Happy Corp, 203 Gaze: Grais, Ian, 151 Happy Goggles campaign, 117 directing, 33–35 Grand Final, Australian Football League, 96 “Hardware Store” print, 39 visual hierarchy, 26 Granström, Calle, 180 Haribo, 143 Geico Gecko, 133 Graph, 64 Harmony, 32 Geisley, Jeff, 198 Graphic interpretation, 63 Harr, Wesley Ter, 198 Gendle, Jennifer Nelson, 48 Graphic organizers, 161–162 Harris, Layne, 206 Geography and orientation, in website Graphic space, defining, 197 “Harry Potter” print, 48, 49 design, 195, 201 Graphic transparency (term), 67, 69 Hartill, Kirsten, 141 GE predictivity trade campaign, 59 Grassetti, Rafael, 176 Hasell, Will, 184 “Get screened” campaign, 133 Great American Soup commercial, 138 Hassan, AJ, 181 “Getting Dressed” commercial, 171 The Greatest Action Movie Ever (G.A.M.E) PSA Hatton, Ant, 196 Getty Images, 96 film, 91 Hauestein, David, 104 Ghosh, Ronojoy, 23 “The Great Outdoors” interactive video, Havaianas Cartoonists, 25 Gibbs, Hmi Hmi, 181 140–141 Havas, 10 GIFERATOR case study, 106–107 Grech, Daniel, 144 Havas Worldwide New York, 22 “Gift Maker” campaign, 7 Green, Melanie, 112 Hawes, Wesley, 32 Gilardinni, Gaia, 181 Greenaway, Andy, 23 Hayrapetyan, Lilit, 176
238 INDEX
Landa Endmatter v3.2 238 October 6, 2016 3:45 PM Head2Head, 203 Howard, Joy, 208 and typeface selection, 54 Headline(s), 10, 18 Howell, Nic, 133 visualizing, 61, 67–69 above, below, or next to image, 69 HP, 209 Image/copy relationship, 149–153 judging type for, 52 HSBC, 88–89 constructions in, 20–23 over image, 69 Huge, 191–193 copy-driven compositions, 21 positioned within image, 69, 70 Hum, Jonathan, 180 effect of, 18 primary message in, 152 Humanist typefaces, 53 emblematic copy/image constructions, testing, 154 Human nature, 93 21–23 “Hearse” bus and train wrap, 103 The Human Race, 203 image-driven constructions, 20–23 Heathcott, Adam, 103 Human Rights Campaign, 11 Image-driven ads, 150 Hecking, Tobias, 202 Humphris, Gillian, 9 Image-driven constructions, 20–23 Hedlund, Annika, 180 Huni, Nathalie, 204 Image making, 162–163 Heffernan, Virginia, 143, 208 Hunt Adkins, 66, 154 Imagery, consistency in, 40 Hegarty, John, 15, 18, 19, 168, 169 HUSH, 131 Immersive experiences, 115, 117 Heimat / Berlin, 36 Hyundai, 136 Implicit bias, 11 Heiss, Rachel, 198 Improv, 158 Hemingway, Ernest, 152 IBM, 86–87, 136 Incubation period, 97 Hempel, Kathryn, 181 “I Can” posters, 77 Independent agencies, 10 Hennessey, 219 Ice Bucket challenge, 12, 206 Influencer content, 142–143 Herigstad, Dale, 24, 46 “Ice Cube” print, 143 In-game advertising, 4 The Hero with a Thousand Faces (Joseph Idea generation phase, 13 Ingram, Jim, 141 Campbell), 119 “Ideal Woman,” 170 In-house production, 11 Herszkowics, Cesar, 25 Ideas, see Advertising idea/concept Insight(s): Herzog, Werner, 120 Identity, 93 for advertising idea/concept, 91–93 Hierarchy: “I Feel Like a Fish” print, 98 consumer, 91 of needs, 92, 93, 129 If only . . . game, 95 moving from benefits to, 94 visual, 26, 44–45, 197, 198 If Only For a Secondd film and book, 118 priming for, 93 High-angle shots, 176 “If You See Something, Say Something,” 148 Insight Media, 141 High school dropouts, 45 Iglesias, Enrique, 213 Inspiration, 101 Hill, Graham, 131 IKEA, 142 Instagram, 113, 114, 136, 142, 208, 209, 219 “The Hire” films and poster, 119, 182 Illick, Michael, 104, 130 Integrated (media) ad campaigns, 3, 42 Hitchcock, Alfred, 176 Illinois Department of Public Health, 101, composition in, 42–44 Hoang, Quan, 106 103 “Love Has No Labels” campaign, 11 Hoffman, Susan, 84, 103, 203 Illumination, 97 unity in, 28 Hoffmann, Kathrin, 204 Illusion: Integration: Holliday, Zach, 198 of depth, 36 of image and type, 69–73 Hollingsworth, Wayne, 176 of movement, 34, 38 of mobile and other channels, 194 Hollis, James Dawson, 143 of spatial depth, 36–37, 175 and typeface selection, 54 Hollywood & Vines (film), 136 of weight, 175 Intel, 94, 110 Holmberg, Teza, 180 Illusion of Life (Frank Thomas and Ollie Intellectual property, 10 Holtz, Shaina, 181 Johnston), 174 Interactive Advertising Bureau (IAB), 190 Holwerda, Johan, 202 Illustration, 63 Interactive agencies, 11 Holyfield, Evander, 142 Images, 61–69 Interactive experiences, 140–141 Hook, 173 altering, 64–65 Interactive media, 94, 131, 135–136 Hopkins, Claude, 79 categories of, 63–64 “Interesting, Si?” print, 139 Hopkins, Halley, 104 and copywriting, 148 Interlude, 140 Hornbach, 36 integrating type and, 69–73 “Internet of Everything” campaign, 15–17 Hornet, 91 judging characteristics of, 62 Interpublic Group, 10 Horsburgh, Neysa, 176 as main visual communication, 18 Interscope Records, 140 Hotchkiss, Sally, 91 preference for, 33 Intricacy (term), 67 Houel, Laurent, 132 presentation of, 66 Invisible Creature, 7 Housini, Harry, 129 and typeface characteristics, 55–59 Irikura, Alan, 88, 121
INDEX 239
Landa Endmatter v3.2 239 October 6, 2016 3:45 PM Irving, Kyrie, 142 Karasyk, Erik, 131 Ladman, Mike, 80 “It Can Wait” campaign, 120 Karlsson, Linus, 138 Lafond, Adrian, 203 Ito, Rie, 176 Kaufman, Trevor, 46 Laita, Mark, 60 Itten, Johannes, 31 Kay, Gareth, 128 Lam, Jenny, 116 Ives, Charles, 84 Kaye, Marco, 103 Lamont, Michelle, 130 Kay Jewelers, 148 Lamott, Anne, 119 J. Sayles Design Co., 55 Keenan, Ben, 96 Lampi, Joe, 66 Jablow, Betsy, 59 Keenan, Kerry, 7 Lance Armstrong Foundation, 102–103 Jackson, Jon, 192 “Keeping Skin Amazing” campaign, 28 Lancôme, 113, 208, 209 Jackson, Mark, 186–189, 195 Kelly, Dan, 176 Land Rover USA, 117 Jacobs, Steve, 104 Kelly, George, 159 Lanfranco, Gian Carlo, 19, 22, 23 Jaeger, Doug, 203 Kemp, Alex, 96 Lanfranco & Cordova, 19 Jahara, Guilherme, 25, 35, 153 Kennedy, David, 68 Langley, Bridget, 40 Jahns, David, 203 Kenney, Robert, 101 Langley, Eva, 48 James, Jonnie, 203 Keogh, Ant, 96, 137, 141 Lantz, Fredrik, 180 James, LeBron, 117 Kerj, Adam, 130, 206 Lanzenberg, David, 144 Jardine, Will, 106 Kessels, Erik, 85 Larson, Chris, 203 Jaret, Michele, 130 KesselsKramer / Amsterdam, 85 Lasseter, John, 174 Jarman, Alex, 91 Ketterer, Jim, 103 “Last Ones Left” campaign, 40–41 Jay Z, 6 Kevin Durant Charity Foundation, 114 “The Last Shot” case study, 144–145 JCPenney, 208 Keys, Alicia, 134 Lau, Ben, 196 Jeffery, Colin, 176 Khan, Shahana, 84 LaValle, Lauren, 80 Jenkins, Henry, 86 Kidz Bop, 91 Law, Nick, 11, 194 Jenkins, Whitney, 180 Kilato, 118 Lawrence, Dale, 104 Jet Sets, 138 Kilmer, Val, 213 Layering, 37 Jianjun Geng, 56 Kim, Daniel, 138 Leagas Delaney, 155 JibJab, 83 KIND, 114 Lectures, 94, 95 Joensuu, Arto, 204 King, Ariel, 142 Ledwidge, Ringan, 171 John, Judy, 68, 181 King, Pete, 84 Lee, Dylan, 39 John Collings & Partners / London, 19 “Kings and Queens of the Court” ambient Lee, Ed, 213 Johnson, Adrian, 32 installation, 68 Lees, Stuart, 204 Johnson, Scott, 84 Kings of Leon, 5 Legs, 140 Johnson & Johnson, 6, 114, 149 Kipling Rudyard, 134 “Legends” print, 36 Johnston, Ollie, 174 Klein, Dan, 91 Leger, Sophie, 118 Joint Editorial, 103, 203 Klimek, Darrin, 68 Legibility of typefaces, 52–53, 55 Jones, Ben York, 136 Klip, Matthijs, 202 Lego Mindstorm, 191 Jones, Laura, 181 Knoph, Dave, 144 Leo Burnett Canada, 68, 132 Jordan, Michael, 134, 144 Ko, Angela, 144 Leo Burnett Paris, 118, 119 Jordan Brand, 144–145 Kodak, 134 Leo Burnett Toronto, Chicago, London/ Juicing the Orange (Pat Fallon), 91 Koeder, Marco, 188 Holler, 181, 183 Jung, Fabian, 202 Koh, Dwayne, 144 Leon, Claudia Yi, 176 Jureen, Fredrik, 180 Kokopelli Hostel, 19 Le Pallec, Nicolas, 204 “Just do it” ads, 101 Kolkey, Sandy, 181 “Let’s Talk About Something Besides Money #JustGotJingled campaign, 208 Kong, Jenn, 192 for a Moment” print, 66 Justified alignment, 35 Kool, Martin, 198 Letter spacing, 52–53 Juxtaposition, 98 Kopp, Neil, 84 Level of contrast, 178 Korth-McDonnell, Patricia, 192 Levesque, Jason, 106 Kann, Martin, 101 Kraft Television Theatre, 4 Levine, Ed, 88 Kantor, Jonathan, 75 Kramer, Johan, 85 Levi’s, 84, 169 Kaoua, Gregory, 118 Krivoy, Fanny, 88, 121 Levitas, Sergeo, 131 Kaplan Thaler, Linda, 98 Kudo Photography, 143 Levy, Andrew, 192 The Kaplan Thaler Group, Ltd., 98 Kudrow, Lisa, 4 Lew, Darren, 84
240 INDEX
Landa Endmatter v3.2 240 October 6, 2016 3:45 PM Lewis, Dominic, 104 Ludwig, John, 58 Marinelli, Mike, 80 Lexus, 4 Lufthansa, 191 Marketing Arm/Davie Brown Entertainment, Lieffler Ketchum Mountjoy, 72 Lukin, Janda, 206 142 #LikeAGirl video, 181, 183, 206 Lulich, Susan, 181 Marketing as service, 6 Lilja, Jörgen, 180 Lululemon, 82 Markus, Craig, 138 Liljeholm, Tom, 180 Lundback, Niklas, 131 Marlow, Jason, 48 Lime Studios, 176 “Lungs” bus and train wrap, 103 Marmoset Music, 180 Linardatos, Andy, 101 Lyke, Rick, 48 Marquardt, Gib, 138 Lincoln Motor Company, 140 Lynch, Kevin, 103 Marth, Theresa, 91 “Lincoln” print, 48, 49 Lynx, 170, 171 Martin, Nathan, 103 Lind, Jeremy, 103, 203 Martin, Tom, 96, 137 Lindholm, Sophia, 146–147 McCann, 136, 198 Martinez, Christophe, 118 Lindman, Peter, 103 McCann New York, 80, 91, 133, 138, 198 Marvel, 197 Line, 18. See also Headline McCann Worldgroup, 186 Maselwa, Vanessa, 9 Linear (term), 67 McCombe, Kara, 141 Mashable, 209 Linear structure, 178–179 McConville, Gerard, 91, 198 Maslow, Abraham, 92–93, 129 LinkedIn, 114 McCormack, Giles, 116 Mason, Matt, 156, 167 Linneu de Pala, João, 67 McCreadle, Gary, 32 MASP (São Paulo Museum of Art), 35, 153 Lisick, Chris, 59 McCuiston, Rebecca, 130 Massis, Andre, 28 Listerine, 100, 135 McFerrin, Matthew, 203 Mathieu, Marc, 194 Little, Gavin, 144 McGlothlin, Shannon, 141 Matias, Carlos, 116 Little Arrows, 184 McGovern, Sean, 131 Mattei, Fernando, 59, 149, 156, 167 Liu, Vivian, 116 McGrath, James, 96, 137, 141 Matthews | Evans | Albertazzi, 32 Live events, branded, 143 McGruff the Crime Dog, 133 May, Dennis, 202 Livesey, Adam, 9 McKee, Robert, 119 McDonald’s Sweden, 117 LiveStrong, 102–103 McKenzie, Robert, 40 Meaning: “Live Young” campaign, 132 McLellan, Todd, 15 and context of typefaces, 55 Lloyd, Richard, 196 Mcleod, Louis, 106 from stories, 117 “Loads of Hope,” 6, 191 Madden GIFERATOR case study, 106–107 Media: Locke, Jessica, 176 Mad Dogs & Englishmen, 143 interactive, 94, 131. See also Social media Loenig, Julian, 151, 152 Make-A-Wish Greater Bay Area, 210–213 and typeface selection, 54 Logical cues, in website design, 195, 201 “Make Your Money Matter,” 92, 199 Media channels, 6–8 Lohman, Eric, 106 Making, creative thinking through, 162–163 for ad campaigns, 3 Lois, George, 98, 151, 152 Mamet, David, 179 for cause advertising, 3 Lombard, Carol, 176 “@Mamming” social media, 130 for integrated ad campaigns, 3 Long shot (LS), 176 Mandarino, Joe, 84 for public service announcements, 3 Lopez, Ruben, 48 Manning, Jade, 9 MediaMonks, 7, 202 L’Oreal, 134 Manning, Jeff, 94 Media site, 191 Lorenz, Lee, 138 Manning, Kevin, 176 MediaStorm, 110 Los York, 144 “The Man On the Left” print, 70, 101, 102 Medium close-up (MCU), 176 Lotus, Greg, 80 Manson, Nigel, 202 Medium long shot (MLS), 176 Love, DeCarlos, 192 “The Man Your Man Could Smell Like” Medium shot (MS), 176 Lovegrove, Thom, 180 campaign, 136 MeeFoong, Meeyee, 116 “Love Has No Labels” campaign, 11 Maps, 64 Meeks, Ray, 39 Low-angle shots, 176 “Map Gallery” commercial, 133 “Melbourne Remote Control Tourist” interac- Lowe, Justin, 103 Mapping, 160–161 tive experience, 137 Lower, Todd, 106 Marc, Franck-Hervé, 118 Melendez, Milton, 65, 74–77 Lowe’s, 132, 133, 208 Marcarelli, Susanne, 33 Merging, 98 L/Studio, 4 Marcotte, Ethan, 195 Metaphor, visual, 99 Lubars, David, 59, 149, 156, 167 Marcus, Pierre, 118 Method, 78 Lucky Strike cigarettes, 138 Margins, 24, 66 Meysmans, Philippe, 118 Ludden, Scott, 144 Marie de Bourbon, Princesse, 134 Michelin, 6, 82
INDEX 241
Landa Endmatter v3.2 241 October 6, 2016 3:45 PM Michelin Guide, 82 “More Turn. Less Burn” campaign, 30 Nashville Convention & Visitors Corporation, Micklish, Justin, 180 Moro, Lisa, 141 4, 5 “MIC” poster, 56 Morris, Errol, 80 Nashville Symphony, 134 Microsite, 191 Morton, Rocky, 140 Nast, Mrs. Condé, 134 Middle ground, 36, 37 Mosher, Aaron, 104, 130 National Australia Bank (NAB), 96 Middleton, 58 Moskowitz, Howard R., 95–96 National Highway Traffic Safety Administra- Midline, 24 Moslander, James, 103 tion (NHTSA), 132 Mietelski, Stephen, 135 Mother London, 142 National Storytelling Network, 135–136 A Mighty Windd (mockumentary), 142 Motion, 172–174 National Women’s Law Center, 11 Mildenhall, Jonathan, 190 guiding principles for, 174 The Nature Conservancy, 71 Millais, Sir John, 140 phases in creating, 172–173 NBC network, 4 Miller, Amanda, 176 to serve idea and storytelling, 172–173 Needs: Miller, Ann, 138 storyboard showing, 173 Maslow’s hierarchy of, 92, 93, 129 Miller, Geoffrey, 93 Motion graphics, 63 unconscious, 93 Miller, Nick, 176 Motion pictures, 4 Negative shapes, 32, 33 Millien, Nicolas, 202 Motivation, 101 Negative space, 32, 45 Mimi Foundation, 118, 119 Mougin, Zoe, 48 Neibert, Dana, 32 Mind map, 160–161 Mountain Dew, PepsiCo. International, 76, Neisser, Drew, 6, 88, 121 Mindshare, 116 152 Nelson, Anthony, 59 Mini, 30, 164–166 “Mountain Lake” print, 71 Nestle Waters, 136, 138 Mini Covert case study, 164–166 Mountjoy, Jim, 72 Neumeier, Marty, 78 Mini USA, 20, 164–166 Movement: “Never Stop Improving” campaign, 132, 133 “A Minute of Silence” fundraiser, 195, 196 flow, 31, 32 “Newsweekk Ad” print, 48, 49 Misdirection ads, 139, 140 illusion of, 34, 38 Newton, Josh, 106 Mitchell, Steve, 66, 154 rhythm as, 31 New Yorkerr magazine, 136, 138 Mitrousis, Nicholas, 144 Moxie Pictures, 80 New York Lottery, 148 Mixed media, 63 MSLGROUP, 181 New York Times, 143 Mobile, 4, 194–197 MTV, 136 Next Move iPhone app, 214–215 best practices or, 195 Mulder, Richard, 202 Nexus, 141 screen sizes, 24 Mullen, 38, 39, 135 Niche, 209 time zones strategy for, 188 Mulligan, Zak, 131 Nicoletti, Brett, 176 and types of branded content, 183 Mumford, Rob, 103 Niezen, Elbert, 202 UrbanDaddy case study, 214–215 Murphy, Pat, 84 Nike, 80, 101–103, 116, 134, 143, 148, 152, 180, Mobile agencies, 11 Murphy, Thomas, 80, 91 203, 219 Mockumentary, 142 Murphy, Tom, 133 Nike+, 6, 81, 116, 180, 191, 203 Model formats, 128. See also Deconstructing Museum of Broadcast Communication, 138 Nike LiveStrong, 103 model formats Music, for animation or motion, 174 Niles, Sylvia, 192 Modern typefaces, 53, 54 Musical, 138 996 Grid, 195 Modularity, 195 Muslim Advocates, 11 “1984” commercial, 133 Module, 195 Mustafa, Isaiah, 136 Nissan, 113, 114 Mofolo, Katleho, 9 My Humble Deception (Dave Snyder), 108 “Noah’s Ark” print, 19 Molloy, Jordy, 196 Myllyrinne, Juuso, 204 Noben, Laura, 118 Molochko, Gabe, 106 Myrick, Daniel, 142 Nocella, Lisa, 80 Montage, 64 My Starbucks Idea, 191 Nokia, 46, 131, 204–205 Montague, Ty, 114 Mystic Lake Casino, 154 Nonconformity, 84 Moodstream, 96 MyWays business model, 95 Norman, Don, 201 Mooney, Thomas, 91 Norman, Tobias, 180 Moore, David, 65, 76 Nader, Courtney, 104 North Carolina Travel & Tourism, 72 Moore, Justin, 14–15, 42 Narrative: Northcott, Geoff, 116 Moran, Darren, 22 brand, see Brand narrative Norton, Michael, 82 “More Luck For Your Buck” campaign, of image/copy relationship, 18 “Not Included” print, 85 176–177 “telling” as, 94 Nudd, Tim, 86
242 INDEX
Landa Endmatter v3.2 242 October 6, 2016 3:45 PM Nunes, Miguel, 40 Osmond, Vincent, 9 Perceptual organization, laws of, 26, 27 Nurture, 93 Overlapping, 37 Pereira & O’Dell, 94, 110 Nuzzo, Michael, 206 Owned media, 6, 203 Peretz, Danielle, 84 Perez, Joshua, 203 Obama, Barack, 213, 216 Pacing, 176, 178 Perez, Lexie, 206 Obama, Michelle, 213 Paid media, 6 Perfect Pop app, 6 Obradovic, Milos, 181 Painterly (term), 67 Periscope, 114 O’Brien, Sean, 203 Palladia, 5 Perry, Mike, 27 Obscura Digital, 131 Palladini, Doug, 192 Persico, Steve, 68 Observation, 99 Pallett, Owen, 84 Personal brand, 216 Ochoa, Ryan, 91 Palmer, Benjamin, 82 Perspective, 99 Odo-Ro-No, 135 Palmiotti, Jaime, 143 Persuade Content, 11 OfficeMax, 82, 83 Panasonic, 115, 121 Persuasion, 129 Office on Violence Against Women, 58 Panayotopoulos, Nick, 206 Persuasion mapping, 94 “Off The Wall,” 191 Paolantonio, Tom, 176 Pevnick Design, 138 Ogburn, Angie, 203 PAPERbecause campaign, 42, 48–51 Phases of projects, 12–13 Ogilvy, 86 Paper Hotspot, 42, 48, 49 The Philco Television Playhouse, 4 Ogilvy, David, 148 “Paperless Office” print, 48 Philip, Heidi, 181 Ogilvy & Mather, 79, 136, 138 Papert, Koenig, Lois, 152 Phillips, Scott, 203 Ogilvy New York (NY), 79, 115 Parfitt, Julia, 141 The Philosophy of “As If”” (Hans Vaihinger), 159 OgilvyOne, 146 Park, Andrew, 176 Photography, 63 Ogilvy Paris, 183 Parker, Sonya, 106 Photomontage, 63 Ogle, Bill, 82 Parker, Todd Rone, 176 Piacente, Franca, 68 Olay, 23 Participation, in interactive media, 94, 131 Picas, 53 Old English/RB, 22 Participation marketing, 131 Picasso, Pablo, 37 Old Spice, 136, 203 Partnerships, 8 Picken, Tuesday, 196 Old Style typefaces, 53 Pascale, Sarah, 80 Picture plane, 36, 37 Oman, 103 Pasqualini, Valerio, 118 Pilapil, Darius, 106 Omnicom Group, 10 “Passion” print, 60 Pillsbury Doughboy, 133 On Directing Film (David Mamet), 179 Pasteur, Louis, 93 Pinterest, 114, 136 180 LA, 209 Pastiche (term), 69 Pixar, 117, 173 “One for One,” 4 Patagonia, 4, 208 Pixels, 53 Online commercials, 178–183 Patterson, Catherine, 91, 138, 198 PLASMON, 37 Online programming, 4 Pavlich, Marie, 104 Platforms, 191, 203, 208 Opaque (term), 67 Paymaster, Tina, 65 Platt, Larry, 80 “Open Happiness” campaign, 113 Payne, Jeff, 84 “Play Fanta: Saving the Source” graphic Opinion, fact vs., 93–94 Paz, Jose, 116 novel, 115 O Positive, 133 Peake, Adam, 154 “Playing with My Friends” video, 142 Opus, 9 Pears Soap, 140 Playland, 151 Oreo, 136, 206 Peck, Gregory, 134 Plomer, William, 90 “The Oreo Blackout” tweet, 206–207 Pedersen, Doug, 72 Plots, story, 119–120 Organization URL website, 191 Peer Music, 84 Plunkert, David, 73 Orgeron, Dade, 91 Pemberton, John, 114 PNC Bank, 6–7 Orientation, in website design, 195, 201 Penano, Jeff, 106 Pocket Power, 4 Original, being, 83 Penguin Audio Books, 55 Point of view, 36 Origin of brand, 84 Penguin Group (China), 26, 56 of audience, 92 Orsinni, Craig, 135 Pepsi, 77, 143 in ideation, 99 Osborn, Alex F., 158–160 PepsiCo, 11, 191 in reframing problems/questions, 96 Osborn’s Checklist, 160 PepsiCo. International, 77 Point sizes, 53 Oscar Mayer, 103–105 Pepsi max, 142 Pol, Joris, 202 O’Shea, Genevieve, 196 Pepto-Bismol, 134 Polar contrasts, 31 Osmond, Jared, 40 Percentages (type size), 53 Political advertising, 142
INDEX 243
Landa Endmatter v3.2 243 October 6, 2016 3:45 PM Polyocan, Niki, 141 “Put On a Smile: The Wearable Movie,”” 79 Renegade, 6, 88–89, 121 Pond’s, 134 Repetition, 31, 40 Pop Secret, 6 Quality (of images or works), 178 Reponen, Erik, 192 Popular culture, 3 Questions: Repositioning products, 95 “Porcupine on Light Rail” print, 150 for idea generation, 95 Research phase, 12–13, 97 Portello, Sara, 37 reframing, 95–96 Responsive web design (RWD), 195 Positive space, 32 “Resume” print, 35 POSSIBLE, 46 “Rabiscos” print, 67 Rethink Advertising, 101, 151 Possible Worldwide, 24 Racking focus, 175 Reynolds, Bee, 15, 42 Post, Edgar, 198 Radio advertising, 2, 4 R/GA, 10, 11, 58, 117, 191, 203–205, 218 Potack, Jesse, 91 Raina+Wilson, 68 R/GA Accelerator, 10 Prägnanz, 26 Rainerson, Simon, 180 Rhetorical devices, 98 Precision, law of, 26 “Rain Forest” print, 71 RHIZOMATIKS, 116 Predictable (term), 67 “Raise Them On Robinsons” prints, 32 Rhoads, Peter, 131 Prego, 95–96 Raith, Ryan, 176 Rhythm, 31–33 Preparation H, 152 Raker, Jesse, 77 Rhythmic relationships, 176 Presentation, 64, 66 Ramakrishnan, Juggi, 23 Rich, Mary, 135 Preston, Shawn, 170 Ramirez, Matt, 192 Richardson, Darren, 204 “Priority: You” campaign, 80 Ramos, Vincent, 192 Richelieu, Duchesse de, 134 Problem(s): Rand, Paul, 198 Rights managed (RM) images, 63 reframing, 95–96 Randazzo, Jon, 15, 28, 42 “Rise” campaign, 116, 117 in storyboarding, 173 Randomness, 38 Risser, John, 32 Problem and solution ladder, 161, 162 Rapaille, Clotaire, 93 Rivera, Justin, 130 Problem resolution phase, 173 Rasmussen, Robert, 198 Roam, Tim, 59 Problem/solution format, 134–135 Rathee, Manik, 216–217 “Roast Joffrey,” 6 Procter & Gamble (P&G), 4, 11, 23, 181, 191 Rattana, Lookmai, 106 Robbins, Alan, 124–125, 152, 178–179 Production and implementation phase, 13 Rawal, Karuna, 181 Robbins, Tony, 114 Product placement, 4 Readability of typeface, 52–53 Roberts, Bryan, 138 Progressive change, 37 “Ready Campaign” PSAs, 142 Robinson, James, 143 “Project Learning Curve,” 50, 51 Reagan, Ronald W., 134 Robinsons’ Fruit Shoot, 32 Project phases, 12–13 “Real Beauty Sketches” campaign, 3 Rock Paper Scissors, 84 Prominence, in website design, 198 Reality in Advertising (Rosser Reeves), 80 Roddy, Kevin, 28, 140 Propach, Jan, 202 “Really Good Cheese” print, 39 Roethlein, Parzival, 176 Prophet, 81 Real time format, 136 Rofail, Sam, 192 Proportions, 32 Reardon, Katie, 180 Rogers, Danny, 138 Prototyping, 197, 217 Reas, Paul, 23, 100 “Roller Babies” video, 132 Proximity, 26, 27 Reason to believe, 79, 100, 101 “Roller” print, 143 PSCU, 91, 92, 198–199 Rebellion, 84 Ronshaugen, Eric, 75, 77 Pseudo-documentary format, 142 Red Bull, 6, 183, 191 Rosagni, Andrea, 37 The Psychology of Personal Constructs (George Reddit, 136 Rose, Reginald, 135 Kelly), 159 Red Pipe, 180 Rosenberg, Staffan, 180 Psyop, 79, 115, 176 Red Urban, 74 Rosica, Mark, 71 Publicis Groupe, 10 Reed, Maxwell, 202 Rothenberg, Randall, 190 Public service advertising (PSAs), 3, 11–12 Reese, Brett, 180 Rotman, Mat, 176 defined, 3 Reeves, Rosser, 80 Royalty-free (RF) images, 63 “Love Has No Labels” campaign, 11 Reframing problems/questions, 95–96, 159 Royer, Ted, 115 Pulito, Dan, 65, 75–77 “Refresh Everything,” 191 R&R Partners, 148 Pull advertising, 6, 131 Reiner, Rob, 142 Rugged individualism, 84 Pulman, Celeste, 206 Reinhard, Dean, 96 Ruiz, Dave, 144 Purpose of advertising, 2–3 Reis, Marcelo, 35, 153 Rule of thirds, 34, 175–176 Push advertising, 6 Relevance, of brand story, 82 “Rule yourself” campaign, 154 PUSH Advertising, 58 “Remembered Longer” print, 48, 49 Ryan, Chris, 80
244 INDEX
Landa Endmatter v3.2 244 October 6, 2016 3:45 PM Saatchi & Saatchi, 135 Selis, Jeff, 84 of screens, 24 Saatchi & Saatchi Singapore, 23 “Sell Out” print, 31, 32 Skahan, Brian, 180 Saatchi & Saatchi Wellness, 20, 21, 27, 69 Sequential arrangements, 38 Skrekovski, Steven, 196 Safelite, 44 Sergent, Louise, 137 Slab serif typefaces, 53, 54 “Safety Belt Education” PSA, 132 Series of events chain, 161, 162 “Sleeping Bugs” print, 19 Saito, Seiichi, 116 Serif typefaces, 53, 54 Slice-of-life drama, 135 Salas, Roberto, 206 Serpa, Marcello, 25 Slogan, 152 Saldarriaga, Sebastian, 206 Serra, Richard, 160 Smartphones, 24, 194. See also Mobile Saleh, Salar, 91 Seto, Gemma, 141 “Smile/History” print campaign, 153 Sally, Annette, 181 7up, PepsiCo. International, 65 Smith, Chris, 141 “Salmon” print, 37 “7up logo + packaging,” 65 Smith, Craig, 28 Salonika, Leigh-anne, 9 “7up Refresh,” 65 Smith, Curtis, 72 Sampson, Charles, 26, 56 The Seven Basic Plots (Christopher Booker), Smith, JR, 106 Samsung, 6 119 Smith, Martha, 144 Samsung Mobile Charging Stations, 82 Sevilla, Joel, 176 Smith, Michael, 208 Sanchez, Carol, 104, 130 “Sex” print, 36 Smith & Foulkes, 141 Sánchez, Eduardo, 142 Seymour-Anderson, Aaron, 180 Smokey Bear, 133 Sands, Will, 144 Shaffei, David, 104, 130 Smolowitz, Peter, 48 San Francisco 49ers, 213 “Share the Air” campaign, 115, 121 Smuggler, 176 San Francisco Giants, 213 Shareworthy social media design, 206, 219 Smyth, Meredith, 104 Sanneh, Siabatou, 183 Shareworthy stories, 114–117 Snapchat, 114, 136, 208, 219 Sansom, Will, 190 Sharpness (term), 67 Snickers, 206 Sans serif typefaces, 53, 54 Shaver, Jesse, 104 Snyder, Dave, 108–109 Santa Maria, 91 Shearer, Norm, 150 Soap operas, 4 Sawyer, Kate, 149 Sheehan, Casey, 192 Social agencies, 11 Sayles, John, 55 Shellard, Ingrid, 9 Social films, 4, 178 Scale, 32 Shepherd, Mark, 203 Social listening, 136 Schlender, Michael, 176 Sherwin-Williams, 4 Social media, 206–209 Schlessinger, Ron, 184 Shi Jian, 26, 56 and The Beauty Inside, 110 Schoeffler, Eric, 202 Shipman, Matt, 192 Clever Girls Collective case study, 210–213 Schoenholtz, Judd, 192 “Shirt” print, 80, 81 Crichlow on, 218–219 Schoonmaker, Alistair, 116 Short, Patrick, 48 meaningful connections on, 158 Schooten, Myriam Ullens de, 118 Show, don’t tell format, 132 popular topics in, 103 Schreiber, Julian, 96, 137 Showing stories, 94 R.U.L.E. for creating in, 208 Schumm, Niels, 85 Shrekk characters, 134 social agencies, 11 Schwarz, David, 131 “Shrink to Fit” print, 169 Social networks, 4 Schweizer, Daniel, 76 Shrout, Tim, 180 Social responsibility, 11–12 Scientific Advertising (Claude Hopkins), 79 Sibenac, 103 Sonic Union, 80 Scola, Pat, 104 Sid Lee agency, 120, 121 Sons & Daughters, 68 Screens: Siegrist, Billy, 149, 156 Sougy, Claire, 118 mobile, 194 Silber, Loren, 176 Sound, for animation or motion, 174 type measurements for, 53 Siller, Ilona, 149, 156, 167 Southern Poverty Law Center, 11 Screen-based media channels/forms, 8 Sillevis, Chase, 202 Southwest Airlines, 5, 191 Screen size, 24 Silver, Eric, 140 Southwick, Dan, 15 Script typefaces, 54 Silverstein, Rich, 15, 42 Spacing, of letters and words, 52–53 Seagram, 152 Similarity, 26, 27 Sparks, Scott, 130 Sega, 140 Simpson, Gary, 100 Spatial depth: Sehsucht, 59 Sims, Leslie, 80, 136 illusion of, 36–37, 175 Seinfeld, Jerry, 99 Sinek, Simon, 114 for mobile, 197 Self-actualization, 93 Sipma, Hans, 151 Spatial relationships, 176 Self-Esteem Project, 3 Size, 24 Spears, Britney, 213 Self-expressive benefit, 80, 81 in animation and motion, 176 Spence, Rehanah, 103
INDEX 245
Landa Endmatter v3.2 245 October 6, 2016 3:45 PM Spent Sex, Evolution, and Consumer Behavior Storydoing, 114 Target, 113 (Geoffrey Miller), 93 Storytelling, 135 Taylor, Ben, 180 Spider map, 161–162 brand, 86–87 Taylor, Jeremy, 192 Spieth, Jordan, 154 principles for animation or motion in, 174 Taylor, Monica, 39 Spiller, Darren, 196 reasons for, 111, 112 TBWA / Brazil, 67 Spirit, signifying, 84 for social media, 208 TBWA\Hunt\Lascaris, 9, 40–41 Spokes-characters, fictional, 133–134 transmedia, 86 Tchouambou, Franck, 106 Spokespersons, 133 Story Worldwide, 198 A Technique for Producing Ideas (James Webb Sponsorships, 4, 8 Stranahan, James, 103 Young), 97 Spontaneous (term), 67 Strap line, 152 Tech team, 10 Spontaneous art improvisation, 163 Strasberg, Rob, 60 Television: SportsCenter, 142 Strategic thinking, 13 branded entertainment, 4 Spots, 178 Strategy development phase, 13 commercials, 2, 178–183 SPUR Design, 73 StrawberryFrog, 126 product placement, 4 Sree, Kash, 28 Strien, Bas, 198 Templates, 38 “Stages” posters, 26 Strong directional, 34 Temple, James, 204 Standards for Accessible Design (ADA), 197 STRONG & KIND, 114 Tempo, 176, 178 “Stapler” print, 143 Sturtevant, Alex, 203 “Testicle” print, 101 Stapleton, Damon, 40 Style, 40–41 Testimonials, 134 Starbucks, 44 Style contrast (typefaces), 60 The Texaco Star Theater, 4, 138 Starcom Mediavest Group, 181, 184 Suarez, Luis, 206 “That’s Not Cool” PSA, 58 Starr, Neil, 204 “Subservient Chicken” interactive experi- Theme, 86 Starr, Sarah, 103 ence, 140 Theory of Fictions (Jeremy Bentham), 159 State Farm, 11 Subtlety (term), 67 Thinking: Steele, Casey, 131 Suhr, Greg, 213 creatively, see Creative thinking Stein, Daniel, 42, 131 Sukle, 150 in ideation, 98 Steir, Dennis, 192 Sukle, Mike, 150 storyboarding as, 163 Stevenson, Kim, 176 Sullivan, Sean, 144 strategic, 13, 78–81 Stock, 39 Sullivan, Tom, 80 “Think Small” print, 33, 99, 149 Stock images, 63 Sundström, Daniel, 180 thinkThin integrated campaign case study, Stokes, Selena, 138 Super Bowl XLVII, 136, 206 184–185 Stolichnaya, 84 Super families (type), 54 Think with Google, 136 “Stopping People In Their Tracks On the “Supernova” installation, 131 Thirds, rule of, 34, 175–176 Plight of the Hungry and Homeless” Support media, 8 Third Side Music Inc., 84 campaign, 27 “Surf,” 64 This Is Spinal Tap (mockumentary), 142 Storm, Brian, 110, 112 Sutherland, Rory, 82 “This Is SportsCenter” report, 142 Stories. See also Brand narrative “Swaggerize Me,” 203 Thomas, Frank, 174 archetypal, 128 Swann, Adam, 104 Thomas, Joyce King, 91 basic formats for, 131–143 Swanson, Becky, 181 Thomas, Nicholas, 144 shareworthy, 114–117 Swift, Taylor, 134 Thomasson, Stéphanie, 118 starters for, 120 Swiss Army Brands, 38, 39 Thompson, Luke, 137 synthesized, 112–113 SXSW Interactive festival, 42, 48, 49 Thompson, Nathan, 91 Storyboarding, 163, 173 Symbols, in website design, 195, 201 The 3-D Printer Experience, 7 Storybuilding, 110–125 Symmetry, 25 360i, 4, 6, 103, 130, 131, 206 Adidas Originals case study, 122–123 Synthesis, 98 Tian Wei, 26 basic process for, 117, 119 –120 Synthesized stories, 112–113 Tide, 6 core brand narrative in, 111–114 “Tide: Loads of Hope,” 6, 191 in digital age, 110 –111 Tablet agencies, 11 Tilted planes, 37 Panasonic “Share the Air” campaign, 121 Taglines, 10, 152, 154 Timelines, 161, 162 Robbins on, 124–125 Tait, Ian, 136 Titles, judging type for, 52 for shareworthy stories, 114–117 “Talent Show” PSA, 135 TODA (The Office of Design and Architec- story starters for, 120 Tanielian, Arnaud, 196 ture), 74
246 INDEX
Landa Endmatter v3.2 246 October 6, 2016 3:45 PM Toloza, Jill Ann, 91, 198 type families, 54 Van der Haar, Pascal, 196 Tolstoy, Leo, 135 Universal Typeface, 203 Van Jaarsveld, Graeme, 9 Tomasic, Scott, 103 Type families, 54, 197 Variety: “Tomorrow Starts Here” campaign, 42–43 Typography, 52–60 for mobile, 197 TOMS, 3 for clarity of communication, 52–53 ratio of unity and, 40 Tongal, 114 images preferred over, 33 VB Passat, 183 Tongue-in-cheek approach, 84 integrating image and, 69–73 Vectorform, 115 Tony the Tiger, 133 typeface selection, 53–60 Veltman, Olaf, 72 Tool of North America, 117, 137 visualizing, 61 Veltman, Robbie, 180 Topetet, Freddie, 75–77 Venables Bell and Partners, 14 Toshiba, 94, 110 Uettwiller, Chris, 104 Venäläinen, Nina, 204 Touchwall case study, 46–47 Unbalanced frames, 175 Vendramin, Benjamin, 91 Tourism Victoria, 137 “Uncontainable: Do the Dew” print, 76 Venter, Ilze, 9 Townsend, Nick, 116 Unconventional media, 8 Verification, 97 Toy, 83 Under Armour, 148, 154 Verizon, 148 Tracey, Devon, 176 “Undercover Color” video, 4 Verizon Wireless, 133 TracyLocke, 64, 65, 74 “Understanding and Wrangling the Web” Versa Note, 113 Trade advertising, 4 (Manik Rathee), 216–217 Vervaene, Marie-Claire, 118 Traest, Sacha, 9 Understated (term), 67 VFX Company, 176 “Trail Sign” print, 72 Ungvarsky, Drew, 106 Vice Media, 188 Tran, Minnie, 91 Unilever, 11, 28 Victors & Spoils, 208 Transformation, 128–129 Unique selling proposition (USP), 44, 80, 94 “Videogame” commercial, 141 Transitions, 35, 52 United Negro College Fund, 148 Video Stamp, 141 Transitional typefaces, 53, 54 U.S. Army, 101 Vilela, Leonardo, 65 Transmedia storytelling, 86 U.S. Department of Health and Human Vilhelmsson, Anders, 132 Transparent (term), 67 Services, 134 Villalon, Brian, 106 TrashSmart app, 4 U.S. Department of Homeland Security Vincent, Laurence, 78 Tree structure, 161, 162 (DHS), 142, 148 Vine, 113, 114, 208, 209 Trident, 206 U.S. Department of Transportation, 132, 152 Visuals, 63. See also Images Triplet structure, 38, 40 United States Postal Service (USPS), 80 Visual analogy, 99 Tripp, Vicki, 84 Unity, 26–31, 34 Visual arts forms, adoption of, 140 Tropicana, PepsiCo. International, 75 for mobile, 197 Visual brief collage boards, 96 True Story (Ty Montague), 114 ratio of variety and, 40 Visual creative brief, 174 Trust, in brand story, 81 in website design, 198–199 Visual designer, 9 Tsang, Alan, 192 Universal Typeface, 203 Visual hierarchy, 26 Tumblr, 136 “Universal Typeface Experiment” project, 202 defined, 26 Turley, Leslie, 104 Up and down flow, 24 design project, 44–45 Turn Around Inc., 73 Uprising (Scott Goodson), 126 for mobile, 197 “Turn Around” posters, 73 UrbanDaddy case study, 214–215 in website design, 198 Twain, Mark, 117 “Urbanist Diaries” platform, 204–205 Visualization, 61 Twitter, 98, 114, 136, 206, 209, 212 URL website, 190–191 of images, 67–69 Typefaces, 53–60 Usefulness of brand story, 82 visual brief collage boards, 96 aesthetic value of, 54–55 User-generated content (UGC), 4, 113, 135–136 Visual metaphor, 99 consistency in, 40 Uses, alternate, 95 Visual sequence, 38 context of, 55, 62 Visual variety, 30, 178 and image characteristics, 55–59 Vaihinger, Hans, 159 Visual weight, 175 judging characteristics of, 62 Valente, Sergio, 35, 153 VML agency, 4, 5 legibility of, 55 Values, 84 Vodafone, 4 mixing, 60 Value proposition, 79 Voice, in copywriting, 154 for mobile, 197 Vans.com, 191–193 Voices Against Violence (VAV) website, 198 point sizes and picas, 53 Van Damme, Jean-Claude, 132, 183 Volkswagen, 23, 33, 99–101, 149 points to consider for, 54 Vanderbilt, Tom, 133–134 Volkswagen Beetle, 99, 100
INDEX 247
Landa Endmatter v3.2 247 October 6, 2016 3:45 PM Volkswagen New Polo, 100 as branded utilities, 6 in ideation, 98 Volpe, Rocco, 139 brand URL, 190–191 number of, 151 Volpe, Zach, 139 correspondence throughout, 30 Word spacing, 52–53 Volvo, 78, 79 desktop website design, 198–201 World Cup games, 206 Volvo Trucks, 132, 183 development of, 201–205 World Wildlife Fund (WWF), 3 Von Bibra, Sonia, 137 mobile, 194 “Worm” print, 135 Vorobjov, Tomas, 204 mobile-friendly, 197 “Worn Wear” campaign, 208 Vue, 100 Rathee on, 216–217 WPP Group, 10 Vuong, Angeline, 192 Web therapy, 4 Wraparound alignment, 35 Vuumans, Jouke, 198 “Wedding” print, 23, 100 Wu, Ronnie, 26, 56 “We Have a Suggestion For Whoever Sug- Wyse, Eamon, 106 Wacksman, Barry, 11 gested It” print, 70, 85 Wagner, Jon, 22 Weight contrast (typefaces), 60 Xie, Bruce, 56 Wagner, Marianne, 118 Wells, William D., 94 “Wake Up and Smell the Bacon” case study, Wendy’s, 112 Yaccarino, Linda, 136 103–105 Werner, Seth, 48 Yacono, Paul, 84 Walker, 80 Wertheimer, Max, 26n.1 Yankelewitz, David, 104, 130 Walker, Brian, 106 “We Sent Their Briefs Back” promotional Young, James Webb, 97 Walker, Craig, 9 design, 9 Young, Zach, 106 Walker, Rob, 82, 110 Wharton, Lamont, 192 Young & Rubicam (Y&R), 26, 74, 140 Wall, Angus, 84 Whisnand, Tyler, 84, 85, 103 Young & Rubicam (Y&R) Beijing, 56 Wallas, Graham, 97 Wickham, Anthony, 204 Young & Rubicam (Y&R) New York, 117 Walsh, Maggie, 206 Width contrast (typefaces), 60 Your Creative Power (Alex F. Osborn), 158–159 Walt Disney Studios, 174 Wieden + Kennedy, 84, 102–103, 112, 113, “Your Year: House of Mamba,” 116 Wan, Vivienne, 143 136, 140–142, 203 “Your Year” film, 180 Wanamaker, John, 188 Wilhelmi, Don Marshall, 138 “Youth Reckless Driving Prevention” cam- Wang, Geri, 120 Wilke, Mollie, 103 paign, 12 Wang, Van, 116 Willett, Danielle, 156 YouTube, 114, 142, 208, 209 Waraksa, David, 138 Williams, Ricky, 106 Y&R, see Young & Rubicam Washburn-Crosby Company, 133 WillORourke, 96 Yuan, Ann, 106 Wasiak, Gregg, 152, 155 Wilson, Patricia, 209 Yuen, Jonathon, 196 Water for Africa, 183 Wilson, Peyton, 133 WATERisLIFE, 112 Winstead, Mary Elizabeth, 110 Zajac, Dominika, 202 Ways of Seeing (John Berger), 129 Wireframes, 197 Zhang, Johnny, 56 The Wearable Movie, 79 WiSpark, 116 Zhang Wei, 56 Weaver, Carol Lynn, 84 Witte, Nate, 106 Zhao, Jason, 116 Web commercials, 178 Wolfschmidt Vodka print campaign, 152 Zhao, John, 203 Weber, Adam, 40 Wong, Jianwei, 116 Zheng, Helena, 26, 56 Web films, 4 Wong, Mei-Ling, 131 Zimmerman, Michael, 104 Web programs, product placement in, 4 Woods, Mike, 138 Zola, Émile, 135 Websites, 191 Woods, Tiger, 134 Zombie Studio, 156 basics of, 191–193 Words: Z-pattern structure, 34
248 INDEX
Landa Endmatter v3.2 248 October 6, 2016 3:45 PM